Issue 2024-089
Maverick Persona — In The Name Of
When the accompanying press statement mentions that the music seems to draw inspiration from the controlled chaos of the more abstract and experimental contemporary West Coast sound. And at the same time refers to Brian Wilson's schizophrenic sonic puzzles and Flying Lotus' esoteric electronic jazz madness, one can almost automatically assume In The Name Of isn't going to be an easy ride.
Indeed, it isn't. But if an obstacle course consisting out of free jazz and contemporary dark-wave inspired (synth) pop with boulders of electronic experimentalism, slopes of psychedelic pop, loops of alienating sounds, and concrete walls of chaotic cacophony and trip hop appeals to you, then this second album by the Italian duo of Amerigo Verrardi (vocals, sounds) and Deje (vocals, sounds) will surely offer a uniquely challenging joyride.
Tensely resonating with oppressive cinematic imagery in likeness to iconic movies such as Bladerunner and The Matrix, In The Name Of conceptually narrates the trials and tribulations of a rebelling young man who grows up in an unhealthy and incurably corrupted future society. Intricately crafted with depth of sound, richness in arrangements, and fifty shades of greyish atmospheres, this overall translates into a musical experience that grosses in unpredictable twists and turns.
The majority of these progressing, erratic fragmentations prove to be very rewarding and intriguingly interesting. Complete The Task demonstrates with its oppressive underground 'Blade'-rave that seamlessly turns into jazzy optimistic sax relieve. Somewhere We Have Landed and Underworld Conspiracy follow with beautiful atmospheric hints of early psychedelic Porcupine Tree, and tangible feelings of isolated claustrophobia.
I furthermore particularly enjoy Where Are You's comfortingly breezy sax-infused jazz fusion, reminiscent of 70s Italian cinema, could just as easily have surfaced on a Kimmo Pörsti (The Samurai Of Prog) solo album. As well as the album's marvellous paradisaical conclusion in form of Turn On The Good Music, Louder!, which offers melodic radiance with soothingly refreshing awareness that somehow manages to bring Spirit's Potatoland to mind every time.
But there are also a few pieces of music that tend to confusingly repel. Not counting the entropic anarchy psychotics of Siarashka, it involves In The Name Of. Calmly rippling in singer/songwriter mode, this gradually mutates towards a mildly unsettling paranoia of repetitively static noisy space-rock. And in my case most certainly includes the prog-crowd splitting Is It Really All Over in which strong rap and hip hop influences are presented like Travis Scott. Not having anything remotely in common with this type of music, this compact song thankfully features lots of additional vocal layers and other generally present influences of new wave which makes it all still worthwhile. The fact that I pride myself in not having pressed the skip button once probably tells something about the captivating quality of Maverick Persona's craftsmanship as well.
With additional impressions of Ossi and Pierce Drummer slowly materialising after multiple hikes, the overall conclusion is that In The Name Of is a fascinating listen that from start to finish never fails to captivate and surprise. I'm still left fairly in the dark as to whom I would specifically recommend this strongly enigmatic and immersive experience to. So the best thing to do is simply check out this artfully crafted album yourself. Engage!
Maysnow — A Dream Within A Dream
Maysnow come to us from Italy and are brining to us their second album A Dream Within A Dream, which features guest spots from Daniel Cavanagh (ex-Anathema, Weather Systems) and Ragnar Zolberg (Pain of Salvation) and was even mixed and mastered by Daniel Cardoso (also of Anathema and Weather Systems). The album has been described often as having a “dream like quality”, so lets dive in and have a listen.
Before the Dark sets the scene with a dark and almost gothic sound, a bit like the likes of Gothminster or Lord Of The Lost, but with more prog to it. In The Woods follows, drifting between a simplistic but undeniably catchy main riff, and more brooding verses. Cavanagh's influence shows on Another Chance, with its gentle keys and melody. Definitely more along the ambient side of things, with a distinctly Anathama sound to it – melancholic but beautiful. The dark atmosphere returns with the electronic laden Hold On, but the choruses bring in the guitars for a lighter and more hopeful vibe. Although, from the three that preceded it, Hold On (and the interlude In The Rooms Of Dream after) are a bit on the weaker side.
Hare rides the line between hard rock and metal, rising with powerful choruses and aggressive verses, similar in some ways to how early Klone would sound. Running With A Firework Smile kicks off the second half and is a punchy and driving rock and metal track. A bit painting-by-numbers, but it still hits the mark in terms of catchiness and fun. Still Bleeding brings the melancholy back, mostly being keys and Ragnar. So it is a calm, sad number. However, given change in style in the two tracks with guests, the album does feel like it is lacking a direction a bit.
A bombastic and cinematic intro brings us into Wrong, which then drops into a thoughtful and forlorn lamentation. Dawn Of September is the standout track. Growing anticipation flows through the steady build up and transitions between heavy and quiet passages. A very well-crafted prog metal number that shows the band at their best (and a wonderful keyboard solo too). And finally, we end with My Wake, a minimalistic outro of acoustic guitars and synths to lead us to the finish line.
The exact style is a bit hard to describe, there is elements of rock and metal, with touches of gothic, all backed by an underlay of progressive sensibilities. It does lack a direction a bit and sounds like a band trying to show all their influences rather than who they are. But aside from that, it was enjoyable.
Moonrise — Live In Przeciszów
If one has time, it is possible to see the moon rise every day. Which is more than one can say for concerts given by Polish band Moonrise. One glance at the list of performances mentioned on Setlist.fm, it shows that since their 2008 founding there have only been a handful of times this was actually within reach. Thankfully I was one of the lucky ones witnessing Moonrise at arms length when they played at De Boerderij, in support of Mystery in 2019.
Since then, several more opportunities to watch the band perform were announced. But Covid put this all on hold. As a result, Moonrise's much anticipated March 2020 concert at 't Blok in Nieuwerkerk aan den IJssel was re-re-rescheduled to the later date of 19 November 2023 (there's a video of that). A day that unfortunately didn't fit my agenda in light of work-related obligations. Thankfully, Live In Przecisnów, which was recorded two weeks later on December 9th at the Cultural Center in Przecisnów (Poland), in a way now supplies the perfect opportunity to still experience this brilliant event.
At least that's what I suspect it to have been. Because Live In Przecisnów, available on 2CD or DVD, features the same core of truly gifted musicians — band leader Kamil Konieczniak (keyboards, electric guitar), Marcin Staszek (vocals), Marcin Kruczek (electric guitar, acoustic guitar) and Grzegorz Bauer (drums). With chemistry of interplay and a-grade performances, they deliver an identical set list of Moonrise highlights which, taken from all four of their consecutive efforts, massively entertains and mesmerises.
Right from the starting sequence of Surrender To Win, Dive and Rubicon, these highlights in various ways readily take me back to their wonderful Zoetermeer performance. Visually not so much at first because the stage is much bigger than the little stamp they had to perform on back in 2019. An upgrade that a talkative, engaging and relaxed Staszek, who excels on vocals and has clearly grown in his performance, makes grateful use of. Watching a concentrated Konieczniak supply bass lines through his keys obviously marks a difference as well. But from a musical transporting point of view, the overall captured live feel of the songs, expressing both warmth and crystal clear dynamic depth of sound, effortlessly does.
Footage-wise, the generously provided DVD shows clear and sharp camera imagery with quietly flowing images, sometimes at a somewhat curious angle, interspersed with overview shots and brilliantly timed close-ups. In combination with the powerful production values and the dynamic light show, these perfect views make sure one not only see, but also feel Moonrise's goosebumps magic during songs like The Answer and Flying In Empty Lands. The latter, a high soaring and meticulously build up composition which, elevated by a spectacular guitar solo from the calm and collectedly performing Kruczek, may well be my new favourite Moonrise song.
Notice the "may" in this! Because it is followed by Little Stone. Another gem of a composition, indulging in formidable emotional guitar play. And I mustn't forget to mention the mighty impressive successive pearl of Icarus. Highly energetic, it brings a divine momentum of AOR and melodic rock / neo-prog, with mesmerising guitar that sometimes reminds of David Gilmour. A delectable sound that a focused Kruczek also movingly engages in the heavenly Angels Hidden Plan while Staszek, meanwhile softly swinging and swaying on his barstool, gives a token of his masterful high-pitched voice.
Mr Strange is a delightful Mr Mister / AOR song with beautiful symphonic embellishments in spirit of early 90s Marillion. After Time, Staszek introduces the next song. What he actually says all night is beyond me, but the one word I'm actually capable of making out this time around is talent. A statement clearly referring to Konieczniak who switches to lead guitar while Kruczek picks up the acoustic. The guitar play in Calling Your Number is blessed by emotions reminiscent of Steve Rothery. The intimate concert part reaches an end with the evening's twelfth highlight The Lights Of A Distant Bay.
Shifting back to their original instruments, Moonrise continue with the extremely exciting and, by Moonrise standards, wonderfully heavy In The Labyrinth Of The Dream. An enrapturing composition in which Staszek gets to channel his inner Freddy Mercury in search for audience participation. The other members unitedly soar through instrumental complexities and brightly appeasing melodies with tantalising ease. After this, Moonrise say their goodbyes with a brilliant finale in form of the sensitively played and emotionally moving Empty Lines.
Meanwhile, Moonrise have announced another concert in their home country. I do hope this will be the start of many other dates, with one or two shows taking place at a venue nearby. Because what the honest representation of Live In Przeciszów so magnificently shows is that Moonrise really excel, shine and captivate on stage.
I imagine Moonrise fans, especially those who already witnessed them live (like here), either have this fantastic DVD already in their collection or have it high on their upcoming shopping / Christmas gifting list. For those not yet acquainted I, apart from the obvious real live deal, can't think of a better way to get properly introduced to the musical magic of Moonrise. It makes my advice fairly easy. Just check out the various video links included within this review and then order this must have. The essential Live In Przeciszów is simply the perfect opportunity to see Moonrise perform their excellent quality songs fully on top of their game. With the additional advantage that regardless of moon phases you can now enjoy them to every time you want. An overall win-win situation I'll happily raise my glass to. Slainté.
Duo Review
Stuckfish — IV
I first had the pleasure of seeing Stuckfish play live at Fusion Festival in March 2023. Familiar with my tastes, with my predilection for richly melodic symphonic prog suffused with melancholy, my friends predicted I would love their music, and they were spot on. Unsurprisingly, I was immediately captivated by Stuckfish's most-listened to track on Spotify and most-watched video on YouTube, The Bridge (That Spans The Edge Of Time) from their second album The Watcher, which has just turned five. At Fusion, I raided the merch desk and purchased everything I could lay my hands on, true to my motto of "Support the bands". With not even the slightest hint of buyer's remorse subsequently.
Stuckfish IV (or just IV depending on which Bandcamp page you visit), is the band's first release on the White Knight label, to which they signed in November 2022. It is also the first to showcase the impressive talents of Paul McNally on the keyboards, who demonstrates his seamless integration with confidence, mastering the subtle and the epic in equal measure.
The cover art in black and white is sparse and austere compared with their previous albums, but all the more striking for it. I could easily imagine it emblazoned across a banner or as an emblem on a standard, two carp forming the letter "S" around a more ornate version of the sword (which no longer skewers the lower – formerly "stuck" – fish), within a border of almost Celtic intricacy with a "IV" at each corner. Another innovation is a 12-page booklet containing the full set of lyrics (Days of Innocence being the only lyric available from the earlier albums), which provides fascinating glimpses into the inspiration behind the tracks. The production values are every bit as impeccable as you would expect from White Knight, glossy, crystalline, cosseting the ears and leaving the listener blissfully glutted. The 12-page
As explained in both the booklet (which is included in the downloads of the digital album) and the accompanying video, shot in black and white in a style reminiscent of a silent movie, Shadows & Moonbeams was inspired by Sarah Bernhardt: "The first A-list celebrity who left her lovers chasing shadows and moonbeams". The darling of the fin-de-siecle stage, who even held her contemporary, the great literary genius Oscar Wilde, in her thrall. Sarah agreed to play the title role of Wilde's play Salomé in 1892, famously prompting him to exclaim "Sarah va jouer Salomé!" However, it was not be, as the play was banned by prudish and narrow-minded British censors, and she never performed the part penned specifically for her. The curtain-raiser opens with Philip Stuckey's impassioned vocals, perfectly conveying the perspective of a distraught abandoned lover, desperately soul-searching to determine where he might have gone wrong. This is melodic rock of the finest quality, uncompromising, brazen and assured, unashamedly wearing its heart on its sleeve. So far, so magnificently familiar Stuckfish.
While we can hear acoustic guitars with a Spanish inflection in Silently Waiting, the latter of the two defining characteristics of the album, accessibility and inventiveness, truly comes to the fore in Liberty. The repeated section "Take the hand of Liberty, You can put your trust in me, Free your soul, Take control, We are truly wonderful" is purposefully bombastic and overweening like an anthem for a dictatorship. Which extols the very thing it proceeds to deprive its subjects of with calculated ruthlessness. The juxtaposition between the lyrics and the manner in which they are delivered creates a menacing overtone. With each recurrence, Philip sings with greater vehemence, verging on the ferocious, until the "crash and burn" caesura at 4 minutes exactly.
The very quietness of the temporary lull which follows rendering it dark and sinister, with audible crackles like an ancient vinyl. Philip resumes, his voice effortlessly soaring ever higher: "Life is just a balance, Of the new and of the old, Yesterday is dead and gone, Its tale has now been told, Today new seeds are growing, In the garden of your mind, A universe inside you, That only you can find". Again, hints of a brave new world, dismissing the past as irrelevant, worthy only of erasure, and attempting to infiltrate and subdue the mind as well as the heart of the subject until its ideology has been internalised completely. An almost militaristic drumbeat follows before Philip again launches into the exhortation to surrender to the collective will. I could not help but be reminded of Galahad, with shades of Empires Never Last. The single peal of a bell, reverberating in a cavernous space, brings Liberty to an unsettling and chilling close.
The inventiveness continues in The Time Of Your Life, which begins with a xylophone-like sound a little like water constantly dripping to form a stalagmite. The chorus is exquisite, gloriously expansive in Stuckfish's trademark cinematic storytelling vein. A narrated passage follows, delivered with earnest intensity. While Lifeline celebrates the power of coming together to break the shackles of tyranny, The Time Of Your Life addresses social conventions and the weight of expectations acting like a straitjacket, stifling the true self. The central (and pivotal) questions "Are you ready for the change to come? Are you ready for the time of your life?" roll in unstoppably like the waves of an incoming tide as the song slowly fades out.
After the grittier and more propulsive interlude of JFKX (Just For Kicks), which again has hints of Galahad, with a catchy and buoyant keyboard refrain, Fly (On Feathers Of Hope) has an almost experimental feel to it, forming a fascinatingly cohesive whole in spite of the disparity of its constituent sections, which never give the impression of having been randomly stitched together. According to the introduction in the booklet: "When love transcends the physical and becomes a spiritual experience, it can seem like flying in a dreamworld". This brought Psalm 139 to mind, with its theme of God's complete, all-encompassing knowledge, both awe-inspiring and terrifying to consider: "If I take the wings of the morning, and dwell in the uttermost parts of the sea; Even there shall thy hand lead me, and thy right hand shall hold me".
It opens with guitar and synthesiser serenely intertwining as they glide heavenward before Paul McNally's keys take over with an appropriate church organ timbre, punctuated by a bell, further accentuating the sacral quality. This is followed by a mood change with the return of the strumming guitar evoking an almost jazzy feel. Philip's vocals are slightly and deliberately discordant as he sings: "Slipping away, see right through me, Throughout the veil, you can know me truly". This deliciously confounds expectations, jarring with the notion of an unperturbed dreamworld and introducing a sinister undertone. There is nothing remotely romantic or lovey-dovey here. The organ-like keys coupled with a string-effect yield to a majestic guitar amplifying the emotion before Philip again takes over, the track concluding emphatically with "Fly" in a striking harmony, echoing the attention-grabbing "Sarah" in Shadows & Moonbeams.
Stuckfish IV, one of my albums of the year, comes to a breathtaking conclusion with the band's longest composition to date, SkiesFall. The epic and dramatic character of the music perfectly aligns with the subject: "Accounts of near-death experiences are strangely similar and invariably life-changing". To my mind, this is the best piece Stuckfish have ever written, surpassing even The Bridge. Five notes on repeat, like a pulse, ebb and flow throughout, firstly on keys alone, understated, then picked up by the guitar to become more intense and insistent, until they become overpowering, once again with an occasional hint of menace. Their recurrence creates a hypnotic quality. Philip's vocals radiate a sense of untroubled detachment without being cold or indifferent, mirroring the transient out-of-body state of the narrator deprived of agency: "You said I must return, My time has not yet come, Eternity is waiting, Destiny frustrating, This earthly frame will draw me in, So I can begin again, I've seen what no one else can see, I know now what I'm meant to be". A stunning performance, measured and utterly compelling.
During interviews, I always ask my "Prog Primer™" question: imagine if a listener was not familiar with your music, which song would you recommend they start with and why? For Stuckfish, SkiesFall is my new answer. From 7:24 to the end, the song culminates in a sublime guitar solo by Ade Fisher, again a simply astonishing, assured performance of the highest calibre. Hopefully Stuckfish will feel encouraged to continue to write songs of a proggier length after SkiesFall, as it is a genuine masterpiece.
In sum, Stuckfish IV regales the listener with gorgeously melodic, lushly verdant soundscapes, with impeccable musicianship and beautiful vocals. Akin to snuggling in a warm duvet on a bleak and dreary winter's day, it is comfortingly and reassuringly Stuckfish, yet shot through with a freshness and boldness, demonstrating that the band is more than capable of evolving further, in a proggier direction, and all the better for it.
As a longtime fan of Stuckfish, I was keen to see what new material the band had delivered with their fourth offering. From the moment the first track hit my ears, I knew I was in for a treat, and it certainly didn't disappoint. Over the years, Stuckfish have developed a reputation for blending 80s melodic rock influences with a modern edge, and IV is no exception. It's an album that strikes a balance between nostalgia and innovation, all while feeling distinctly fresh and relevant.
One of the most impressive aspects of IV is how the band has evolved since their earlier work while still holding onto the core elements that helped establish them in the first place. If you're familiar with their previous albums, you'll notice that there's a more polished, mature sound here—one that shows growth but still pays tribute to the bands of the past. The 80s influences are still present, but there's a clarity and crispness to the production that gives it a modern touch.
The musicianship on this record is top-notch, and you can feel the confidence in every note. The lineup on IV features some familiar faces, Adam Sayers (drums) and Phil Morey (Bass) with Paul McNally replacing Gary Holland on keyboards. The lead guitarist, Ade Fisher, who's always been known for his blazing solos and melodic flourishes, seems to be in even finer form here, weaving intricate leads into the tracks with ease. The rhythm section has become even more dynamic; the drums hit harder, and the bass is deeper, giving each song a stronger foundation.
The album opens with the powerful Shadows & Moonbeams, a song that immediately sets the tone for the entire album. From the very first riff, you can tell that Stuckfish are back, and they mean business. It's anthemic and bold, with a soaring chorus that hooks you right in. The vocals here are particularly striking—powerful yet smooth, like they've truly found their voice.
Then there's Silently Waiting, a track that's steeped in nostalgia, with its shimmering synths and rich, layered guitars. This one reminds me of some of the best 80s rock ballads, but the songwriting feels more mature. It's a reflective song, with lyrics that explore themes of a lost love and the desire to resurrect what was obviously a worthwhile union.
In contrast, Lifeline is more upbeat, with a driving rhythm that makes it impossible not to tap your feet. The melodies are infectious, and the chorus is one of those that you'll be humming long after the song ends. This is where Stuckfish's blend of 80s melodic rock and modern sensibility really shines—they know how to write a hook that sticks without feeling dated. At times Phil Stuckey sounds slightly similar to Dennis De Young (Styx) although that is not a criticism. In other instances, I hear a very vague resemblance to Air Supply's Russell Hitchcock whose voice was a little too high-pitched for most ears. Thankfully, Phil does not suffer from that issue here and shows plenty of depth and control.
Liberty, with its gritty guitar work and powerful vocal delivery, brings a heavier edge to the album. There's a rawness to this track that gives it a more timeless feel. It's one of those tracks you can imagine blasting at full volume, windows down, while cruising down an empty highway at night.
Another very engaging song is The Time Of Your Life, that really caught me off guard. It's got this atmospheric quality that's almost cinematic. The guitar solo here is something truly special, emotional and expressive, leading to a soaring final chorus that almost feels like a crescendo to the entire album. It's a beautiful moment that encapsulates everything that makes IV such a rewarding listen.
The other tracks are all competent and confident songs written by a team of talented musicians who really know where they are heading. SkiesFall closes the album on a triumphant note, with a slow build that turns into a grand finale. There's an almost orchestral quality to the way the band layers the instruments, and the vocals soar in a way that feels both triumphant and reflective. It's a fitting close to an album that is, in many ways, a journey.
What stands out the most about IV is how well it balances the old and the new. As many of us old farts would be familiar with bands like Journey, Styx, Asia, Saga, Bon Jovi, and Foreigner etc, it is easy to rediscover the connection from what was with what is now. The only issue I have and it is only minor is that the songs, while played impeccably, don't really possess a great degree of any progressive qualities. There are no really complex time signatures or difficult arrangements, rather simpler, more traditional songs structures that work perfectly for the style of music that the band create.
While not a band that could fill an arena like Journey, Boston or Styx might have done in their heyday, Stuckfish stick to their principles and stay true to their roots. There's a certain emotional depth to this album that I didn't quite expect. It's not just about catchy riffs and big choruses (though there are plenty of those). The lyrics feel more personal, more introspective. Their songs hit me on a deeper level, with their themes of change, loss, and hope. It's clear that this is an album that reflects where the band is right now, and that level of vulnerability makes it even more compelling.
I also appreciate how tight the band sounds on IV. There's no excess here. Every note feels deliberate, every beat purposeful. The songs feel cohesive, and the production is lush without overwhelming the core of the music. The guitar work is particularly impressive—there are moments where the solos practically sing, evoking that unmistakable 80s rock feeling, but they never feel like a throwback. They feel fresh, exciting, and relevant.
IV is a minor triumph for Stuckfish. It shows that they've grown both as musicians and as songwriters, but they've managed to stay true to the sound that made me take notice of their music all those years ago. There's a timeless quality to this album that makes it feel both nostalgic and current. It's full of powerful melodies, emotional depth, and the kind of anthemic choruses that make you want to hit repeat. If you're a fan of melodic rock, this album is certain to appeal.